Still Twitching: Vomitory Refuse to Die on In Death Throes

Released: April 10, 2026

There’s a version of this where Vomitory are a footnote. Swedish death metal has Entombed, it has Dismember, it has At the Gates—household names, at least within the scene. Vomitory have spent thirty-five years as the band that people who actually dig into the genre point to and say, “these guys.” In Death Throes isn’t going to change their profile much, and they clearly don’t care. What it does is confirm that their 2023 comeback wasn’t a one-off—the band is genuinely back, and they’re playing with something to prove.

The comeback context matters. Vomitory split in 2013, stepped away for a few years, returned for a one-off show in 2017 that turned into a full reformation, and then released All Heads Are Gonna Roll in 2023 like the hiatus never happened. That record was strong enough that the pressure on this one is real. New guitarist Christian Fredriksson—who had already been playing live with the band before becoming a full member—now contributes to four tracks here, and the transition is seamless. You wouldn’t know anything had changed.

“Rapture in Rupture” doesn’t bother with introductions. No atmosphere, no slow build—just riffs and Erik Rundqvist’s vocals hitting like something locked in a room for a decade and finally let out. At under three minutes it’s over before you fully process it, which is exactly the point. “For Gore and Country” follows and stands as one of the more interesting tracks on the record, shifting between a mid-paced groove and something faster and more frenzied. “Forever Scorned” stretches things slightly, giving the band room to work a riff instead of just hammering it once and moving on, while “Wrath Unbound” runs on pure momentum, the rhythm section doing most of the damage.

The title track is where the album opens up a bit. It begins with something close to atmosphere—an ominous low-end rumble—before snapping back into attack mode. It’s the most apocalyptic-sounding track here, and Rundqvist sounds genuinely unhinged. “Cataclysmic Fleshfront” is the fastest and meanest track on the record, veering into slam territory in spots, built purely for impact. “Two and a Half Men” does exactly what the best Vomitory songs do—finds one riff and drives it into the ground until you either tap out or give in. It’s three and a half minutes of pure attrition, and it works.

“Erased in Red” leans more into groove and stands out on the second half because of it. “The Zombie War General” pushes the pace back up before closer “Oblivion Protocol” wraps things up with the album’s most atmospheric moment—dark harmonies threading through the weight, Fredriksson showing range before the record ends on its own terms.

Production is handled across multiple studios, with mixing and mastering by Lawrence Mackrory, and it sounds exactly how this kind of record should—low end thick without becoming muddy, guitars cutting through without losing weight, drums cracking and rumbling in the right balance. Nothing flashy, nothing that pulls focus.

In Death Throes runs thirty-seven minutes and doesn’t waste a second. It isn’t trying to expand what Vomitory do or reach beyond its lane. It’s ten tracks of Swedish death metal from a band that knows exactly how to make it, delivered without apology. If that’s your lane, this lands exactly where it needs to.